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Indlæser... Ghiberti's bronze doorsaf Richard Krautheimer, Richard Krautheimer
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Legend has it that Michelangelo named the East Door of the Baptistery in Florence, "the Gates of Paradise." Set in place in 1452, it may be seen today. To recount the story of Ghiberti's double achievement, the North as well as the East Door, Richard Krautheimer has extracted the whole wealth of illustrations for the doors: every panel is shown, some in detail, with close-ups of the portrait busts and the plant and animal vignettes that enliven the borders. Four color plates recapture the shimmer of the gilded bronze. To these illustrations Mr. Krautheimer has added a brief commentary, touching on the style and meaning of the Old and New Testament scenes represented and sketching the life of the artist -- first as a young, unknown bronze-caster competing for the Baptistery commission and then as a craftsman par excellence. -- From publisher's description. No library descriptions found. |
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Google Books — Indlæser... GenrerMelvil Decimal System (DDC)730.9The arts Sculpture and related arts Sculpture History, geographic treatment, biographyLC-klassificeringVurderingGennemsnit:
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It is probably fair to say that Ghilberti's training as a goldsmith shows through in the fine work which makes up most of these sculptures.
The book is really little more than a collection of black and white photos (a few in colour) of each of the panels and the individual portraits on the North and East doors...the doors produced by Ghilberti and his workshop. But despite the age of the book (published in 1971) the quality of the photos is superb. Most of the portraits of the prophets for example are really quite tiny yet marvellously detailed (the hand of the goldsmith evident). A couple of pages of text accompany the photographs but it is mainly historical material about how Ghilberti got the contract at the age of 22 and finished it when he was into his 50's...Not a bad accomplishment and something that he evidently looked back on with pride. Though it was interesting to me to find that even within this time-frame fashions of sculpture had moved on and Ghilberti's work was being looked upon as rather old fashioned and dated. Yet here we are, 600 years later admiring the work and appreciating it's excellence.
A nice little book. I give it four stars. ( )